Another instance of inversion in Breaking Bad is that the death of Walter White is in the birth of Heisenberg; the character acknowledges the power of death and is in a sense welcoming it, relating back to Rank’s (1914) theory on the relationship between the soul and death. In Literature and Myth Samuel Eisenstein (1968) argues that before “conscious memory” an individual is aware of the fact that in order to grow they must be “willing to die and be reborn”; Walter affirms this idea when he says “[...] that 's all of life […] It 's growth, then decay, then transformation" (Walter White, Breaking Bad Season 1 Episode 1). This in regards to Breaking Bad suggests that Walter White may have an unconscious need to die, or an acceptance of death which may be a mental death, and he is feeding this through allowing the embodiment of Heisenberg. As Heisenberg he removes parts of his principles and values, as a gesture of trying to control his fate – as a result of this he plays in to the ‘death
Motifs are recurring structures, contrasts, and literary devices that can help develop and inform the text's major themes. One of the prominent themes in the novel The Catcher in the Rye and one of great interest to the narrator himself, would be the omnipresent theme of death. It could be argued that the novel is not only full of references to death in the literal sense, physical disappearance, but also in the metaphorical, taking the form of spiritual disappearance, something which Holden often focuses on, along with the actual theme of mortality. It is possible that this occurs in his reluctance to interact with the living world, as his means of escaping from the reality he despises, his mundane thoughts and the “phoniness” that he is surrounded with. Holden becomes increasingly attracted to the idea and comes close to obsession, as his mind is flooded with thoughts of death and disappearance, as well as questions which are revealed throughout the novel.
The two questions Rowe asks are in reference to a person surviving the death of their body. He questions whether a person surviving the death of their body is significant? And he questions whether the belief is true. Issues arise concerning whether the belief is significant or meaningful, as Rowe words it.
The motif of death in The Catcher in the Rye The most prominent theme in The Catcher in the Rye by J. D. Salinger is death and the loss of innocence. Death is the vehicle that drives the story, offering an explanation to Holden’s views and punctuating his feelings towards the world. This essay will explore the various instances where the motif of death occurs and possible explanations of these instances. For the purpose of this essay, “motif” is defined as “something (such as an important idea or subject) that is repeated” (Merriam Webster Dictionary).
Motifs are recurring structures, contrasts, and literary devices that can help develop and inform the text 's major themes. One of the recurring themes in the novel The Catcher in the Rye is the omnipresent theme of death. It could be argued that the novel is not only full of references to death in the literal sense, physical disappearance, but also in the metaphorical, taking the form of spiritual disappearance, something which Holden often focuses on, along with the actual theme of mortality. It is possible that this occurs because of his reluctance to interact with the living world. As his means of escaping from the reality he despises, his mundane thoughts and the “phoniness” that he is surrounded by.
Lord Alfred Tennyson’s Crossing the Bar considers the subject of death from the viewpoint of someone experiencing it themselves, and expressing that they hope those close to them can feel the sense of closure that they do. In Dylan Thomas’ Do Not Go Gentle Into That Good Night tackles the same subject from the viewpoint of someone watching their father die, and asking him to fight against death. The authors different viewpoints and opinions on the subject of death allow them to use similar literary elements in opposite ways. Tennyson uses figurative language in the form of darkness and night to depict the coming of death. “Twilight and evening bell /
In literature, death often serves much more than a physical purpose. It can be a means of illustrating the death of a character’s mental state, his/her love, or psychological well-being. In part one of Albert Camus’ The Stranger, Meursault, the narrator, learns that his mother has died and accordingly plans the funeral. However, the chapter is not entitled death solely for this reason. Using tone and the motif of the sun, Camus demonstrates throughout part one that death occurs in Meursault 's mental and emotional state, ultimately revealing the loss of his own humanity.
In the novella The Death of Ivan Ilyich, Leo Tolstoy displays the introspection on the metaphysical meaning of life as the protagonist Ivan Ilyich becomes mentally preoccupied with his impending death. By reversing the chronology of death and encapsulating moral messages centering around the protagonist’s dying experience, Tolstoy emphasizes the importance of confronting death to achieve a meaningful life free of societal ideals. Despite criticizing a society permeated with self-deception and hypocrisies, the writer portrays possibilities of redeeming oneself to live a meaningful life nonetheless. Thus, Tolstoy advocates for authentic human relationships through the juxtaposition of Gerasim’s truthfulness with proprieties followed by others.
The last Question is implied implicitly as the book advances and develops into a further question that provokes readers to ask if they have lived a life with living. This is the complex thesis of the book; did Socrates or have I lived a good life. This question can only be asked when one is confronted by death, and thus by his or her limits. This is because the ultimate limit is mortality and the confines of the body where the soul
The progression through history to discover the evolution of man’s interpretation of the meaning of life has come to the horrific possibility of the death of humanity by humanity. Seen through the eyes of philosophers and authors Martin Buber, Emmanuel Levinas, and Elie Wiesel we obtain one step closer to a better understanding of the secular saint. Author and psychologist Victor Frankl offers an alternate view of the progress of human understanding of the meaning of life.
The quality of death is an issue that is increasingly being discussed in both academia and public debates (Hendry et al, 2012, p23). In the notion of quality of death, autonomy is seen as very important, as part of a good quality of death is ensuring individual wishes are honoured at the end of their life (Hendry et al, 2012, p23). Quality of death is “the right to choose and desire for autonomy with regard to the manner of death” (Hendry et al, 2012, p19-20). In the systematic review of international literature which looks at people’s attitudes towards assisted dying, a number of surveys were examined and compared (Hendry et al, 2012), and within these surveys four common themes were identified. These included concerns about poor quality of life and desire for a good quality of death (Hendry et al, 2012, p17).
In this book the author makes death seem like a person who is telling the story of a little
Thomas Nagel’s conclusion is that death is not an evil for the person who has deceased, but rather for others. He begins his argument by attempting to establish whether death is to be considered as an “evil”, how great this “evil” may be, and of what kind it may possess. If the permanent end to our existence is death, would it be considered a bad thing? That is the fundamental question that Nagel asks and thus explores by formulating two distinct hypotheses. The first of these hypotheses is that death robs us of life, which is all that we have, therefore is the worst possible fate and makes death a certain evil.